The Conversation (1974)

Director:

Francis Ford Coppola

Writer:

Francis Ford Coppola (written by)

Release Date:

1974 (Japan)

Genre:

Crime | Drama | Mystery | Thriller

Tagline:

Harry Caul is an invader of privacy. The best in the business. He can record any conversation between two people anywhere. So far, three people are dead because of him.

Plot:

A paranoid and personally-secretive surveillance expert has a crisis of conscience when he suspects that a couple he is spying on will be murdered. |

Plot Keywords:

Surveillance | Paranoia | Tragedy | Birthday | Tape

Awards:

Nominated for 3 Oscars. Another 11 wins & 11 nominations

Cast

Gene Hackman	...	Harry Caul
John Cazale	...	Stan
Allen Garfield	...	William P. 'Bernie' Moran
Frederic Forrest	...	Mark
Cindy Williams	...	Ann
Michael Higgins	...	Paul
Elizabeth MacRae	...	Meredith
Teri Garr	...	Amy Fredericks
Harrison Ford	...	Martin Stett
Mark Wheeler	...	Receptionist
Robert Shields	...	The Mime
Phoebe Alexander	...	Lurleen
rest of cast listed alphabetically:
Ramon Bieri	...	Man at party (uncredited)
Gian-Carlo Coppola	...	Boy in Church (uncredited)
Robert Duvall	...	The Director (uncredited)
Richard Hackman	...	Confessional Priest / Security Guard (uncredited)
George Meyer	...	Salesman (uncredited)
Al Nalbandian	...	Salesman at Surveilance Convention (uncredited)

Directed by
Francis Ford Coppola

Writing credits
Francis Ford Coppola		(written by)

Produced by
Francis Ford Coppola	....	producer
Fred Roos	....	co-producer
Mona Skager	....	associate producer

Original Music by
David Shire

Cinematography by
Bill Butler

Film Editing by
Richard Chew

Casting by
Jennifer Shull

Production Design by
Dean Tavoularis

Set Decoration by
Doug von Koss

Costume Design by
Aggie Guerard Rodgers

Production Management
Clark L. Paylow	....	production manager (as Clark Paylow)

Second Unit Director or Assistant Director
Charles Myers	....	assistant director (as Chuck Myers)
Paul J. Crossey	....	dga trainee (uncredited)

Art Department
Ted Moehnke	....	property master

Sound Department
Howard Beals	....	sound effects editor
Nathan Boxer	....	production sound recordist (as Nat Boxer)
Michael Evje	....	production sound recordist (as Mike Evje)
Walter Murch	....	sound editor
Walter Murch	....	sound montage
Walter Murch	....	sound re-recordist
Art Rochester	....	production sound recordist

Stunts
Buddy Joe Hooker	....	stunts (uncredited)

Camera and Electrical Department
Joe Dunnigan	....	gaffer
Doug Finn	....	gaffer
Ralph Gerling	....	camera operator
James Glennon	....	assistant camera (as Jim Glennon)
Keith Mason	....	key grip
Robert Edesa	....	assistant camera (uncredited)
Brian Hamill	....	still photographer: special assignment (uncredited)

Editorial Department
Walter Murch	....	supervising editor
Julie Zale	....	assistant editor

Other crew
Jim Bloom	....	administrative assistant
Randy Carter	....	administrative assistant
Wayne Fitzgerald	....	title designer
Nancy Hopton	....	script supervisor (as Nancy Tonery)
Mona Houghton	....	administrative assistant
Leo Jones	....	technical advisor
Hal Lipset	....	technical advisor
Pat Smith	....	production secretary
Alex Tavoularis	....	location coordinator
Lawrence Bridges	....	production assistant (uncredited)
Martin Kaiser	....	technical advisor (uncredited)
Joe Roth	....	production assistant (uncredited)

Production Companies

• American Zoetrope
• Directors Company, The
• Paramount Pictures
• The Coppola Company

Distributors

• Paramount Pictures (1974) (USA) (theatrical)
• Columbia Broadcasting System (CBS) (1978) (USA) (TV) (original airing)
• Buena Vista Home Entertainment (2005) (UK) (DVD)
• Buena Vista Home Entertainment (2004) (Italy) (DVD)
• CIC Vídeo (Brazil) (video)
• CIC-Taft Home Video
• Carlotta Films (2000) (France) (re-release)
• Manga Films (2004) (Spain) (DVD)

Other Companies

• Intrada  score album released by (limited edition)

Runtime:

113 min

Country:

USA

Language:

English

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono | Dolby Digital (restored version)

Certification:

Spain:18 | Portugal:M/12 | South Korea:15 | Brazil:14 | Australia:M | Finland:K-16 | Ireland:15 | Norway:16 | Singapore:PG | Sweden:15 | UK:12 (re-rating) (2002) | UK:15 (video rating) (1988) | UK:AA (original rating) | USA:PG | West Germany:16

Filming Locations:

Alamo Square, Hayes Valley, San Francisco, California, USA

Company:

American Zoetrope

Trivia:

Gene Hackman's character was to have been named Harry Call, but a typing error led to his being name Harry Caul and the name stuck.

Goofs:

Continuity: When Harry Caul is in the elevator, you see the woman come in and three buttons are pushed. After stopping on a floor, a cut back to the shot of the woman and only one button remains lit whereas two should still be lit.

Quotes:

Martin Stett: [Final Line] We'll be listening to you.

Movie Connections:

Referenced in Dean Tavoularis, le magicien d'Hollywood (2003)

Soundtrack:

Bill Bailey Won't You Please Come Home

Privacy and Responsibility - A Conflicting Moral Choice

Francis Ford Coppola's 1974 classic is an ingenious, meticulous examination into the nature of voyeurism, as well as a harsh criticism of the deceitful morality of privacy. At its basic form, however, The Conversation is a film that carefully follows a man who is curiously trapped within his own secretive existence of solitude. Harry Caul is nothing more than an observer; we do not witness any noticeable personal interests outside of his profession, aside from his occasional musical performances. But notice how Harry is always playing along to another band (contrast this to the solo at the ending), and never performs for an audience. There is no audience for Harry, a man who is entirely absorbed within his occupation, and allows his neurotic obsession to control his personal relationships. Harry treats himself like he treats his clients, he divulges no personal information, displays no easily distinguishable characteristics, and remains blissful in his peaceful state of ignorance. Whenever he is not entirely engulfed within his work, Harry disappears into his apartment, satisfied with his general indifference towards any truly beneficial, active existence. Harry has thoroughly convinced himself that it is inappropriate to become involved in his client's affairs. After all, Harry's job is not to take responsibility for himself, or to investigate any potential consequences resulting from his surveillance intrusions. Harry's job is to take orders, display no personal interest in the content of his recordings, and deliver the results completely unconcerned for anyone's potential safety or security. It is only after Harry accepts his need to take responsibility that he is able to take interest in his client's mysterious, dangerous affairs.

As Harry slowly drags himself into the precarious business of strangers, the film's intentions become increasingly suspenseful and perplexing. Coppola maintains his deliberately methodical pace throughout the entire film; it is only through our imagination that we are capable of creating and perpetuating such a consistently fascinating atmosphere surrounded by a cloud of tension and mystique. The Assistant Director never physically carries himself as an intimidating antagonist; it is through the complexity of the film's plot and through the continual uncertain environment that we are able to associate this element with his character. Every person that carries himself in a convincingly dubious manner immediately becomes a potential suspect. Harry becomes compulsively obsessed with the fate of his client's targets, completely submerging himself into the substance of the recordings, looking for any potential details that might assist him in solving the mystery. Harry's investigation quickly becomes our task as well, as we begin to subconsciously observe and scrutinize each character involved. The beauty of Coppola's film is the fact that it makes its point by using the audience as proof of the inherent devious nature of privacy. The movie transports us into Harry's world, as we become infatuated with the secretive plot unfolding before us, and we desperately search for clues into the lives of the film's characters. Of course, after intense investigation, Harry ultimately comes to realize that he has violated all of the principles that he had once stood proudly for. Whether or not Harry ended up better off by becoming involved in the dealings of others is a completely subjective matter, but it is a crucial question that the viewer must ask him/herself.

The ending of the film is what interested me the most about The Conversation. The consequences of Harry's obsession become manifest through the destruction of his own privacy, his property and even his faith. Was Harry morally appropriate when he decided to intervene into the relationship and associations of complete strangers? Did Harry do the right thing by taking responsibility for his actions, and reaching out to help another in desperate need? These are the most important questions that the film ultimately asks its audience. The final shots of Harry perfectly capture the ambiguous mood of the film's finale. Harry is sitting alone in his stripped down apartment looking exhausted, humiliated, and defeated. But if you look closely you will realize that he is indeed playing the saxophone to his own beat, for a change. At what costs do we accept the need for our responsibility to others?